Review: Neil Simon's PLAZA SUITE Brings Laughter and Pathos at Desert Theatreworks

Several things rush to mind in the thoughts of the prolific theatre-goer when a Neil Simon production is promised: smart & funny being chiefly amongst them.  Both are on tap at Desert Theatreworks in their current production of Simon’s “Plaza Suite”.  A collection of three vignette scenes connected only by locale, Room 719 of Manhattan’s once opulent Plaza Hotel, and the ramifications of love (gaining it, losing it and being frankly terrified by it). 

Director Lance Phillips understood the complexities of the task ahead of him.  The year the play is set in 1968 and this production stays accurate to that ethos. Costumer Paula Bailey dressed the performers well in this era, particularly in the ‘60s “mod” inspired fashions of the time for the ladies. Lighting and sound were designed by multi-DTL award winning designer Nick Wass, who handled the movement of lighting consistently throughout split scene staging, a juggling act I am sure.  The set design, also by Mr. Phillips, reflected the sophistication of an upscale hotel suite as one would expect at a property such as the Plaza, but also allowed its “age” to show. It’s kind like going to a Las Vegas hotel that was built a while ago and, even though the room has been remodeled numerous times to look chic, you can still tell it is held together by spackle and wallpaper.  It well reflected a room that may have seen its best days behind it, as the dialogue references several times.  Kudos to Stage Manager Pedro G Leos and Makeup/Hair and lone stagehand Tess Phillips on keeping the scene changes moving fluidly, with a minimum of noise or disruption during the video interstitial segments in between scenes.  These were also Mr. Wass’ design and they well read the era and establishment of the next scene’s reality.

"Photo by Tara Howard Photography"

The focal characters in all three scenes were Yo Younger and Michael Pacas.  Ms. Younger, a prolific multi award winning actress who inhabits many area stages and always turns in terrific performances, put on a bit of a master class in characterization here.  Transforming from an ignored wife desperately trying to extract her distant husband from his twin mistress of the office (and his assistant), to a star struck missus reconnecting to an old flame who made good, then into a harried mom pleading with her about-to-be-married daughter to extricate herself from the bathroom she has locked herself in, each character was crisp, well thought-out and emotionally honest.  My favorite scene of hers was the second scene, “Visitor from Hollywood”, in that it was written in such a way that she played opposites with almost every line.  It was a slow burn to a randy conclusion and was very funny.  Yo’s most heart-breaking is her first, Her Karen Nash was trying so hard to recapture romance with her husband, who was already half-way out the door.  At the end you just want to yell, “Leave this putz!”.  Ms. Younger’s verbal sparring partner is Michael Pacas, himself a proliferative actor/director.  Mr. Pacas had the unenviable task of playing the heavy through most of the roles.  My favorite of his depictions would probably be his last character in “A Visitor from Forrest Hills”, the bewildered dad Roy Hubley, scrabbling at anything to get his beloved daughter out of her bathroom fortress and get down to the wedding chapel before he loses anymore hors d'oeuvres trays.  He channeled admirably his inner “Archie Bunker” for the role, something anyone who has survived a gala wedding can attest to.  His Sam Nash in the first act doesn’t receive such sympathy.  Distant, dismissive and telegraphing to everyone he would rather be anywhere but in this room with his wife.  You really want to throw a shoe at him, as intended. His portrayal of a narcissist who is well past the youth he clings to, still thinking that if he stays trim, accumulates more wealth, and has a younger romance that he can ignore what the mirror and Father Time are telling him.  His portrayal of Hollywood producer Jesse Kiplinger in the second scene was a funny foil to Ms. Younger’s giddy miss.  There are two other performers who flesh out the scenes that deserve notice.  Angela Landis plays the role of the “other woman” Jean McCormack in the first act and the “runaway bride” Mimsey in the last scene.  While lesser roles, she shone in their portrayals, even if you wanted to tell her Miss McCormack to “run for the door!”.  The only consistent character throughout is the Waiter, played by Andrew Abril.  Played with an indifferent “I’ve seen everything” smirk that everyone who has ever worked in hospitality knows, Mr. Abril added nice highlight moments, like getting caught in the middle of an argument he is not a part of and is furiously looking to escape. He also plays the groom to be in the final scene whose solution to the Mimsey problem, while dated, is still funny.

"Photo by Tara Howard Photography" 

If you are looking for a play with intelligence and style, get your tickets now. Neil Simon’s “Plaza Suite” will run Wednesdays, Thursdays, Fridays, and Saturdays at 7:30 p.m.; and Sundays at 2:00 p.m through Sunday, February 25, 2024. Tickets can be purchased at www.dtworks.org or by calling (760) 980-1455. The production plays at the Indio Performing Arts Center, 45175 Fargo Street, Indio. In partnership with C4 Communication, DTW will have ASL Interpreters at the Saturday, February 24th performance.

The remainder of DTW’s 2023-24 season consists of:

Beautiful: The Carole King Musical (March 1-24, 2024) For six years, Beautiful, the Tony and Grammy Award- winning Carole King musical, thrilled Broadway audiences with the inspiring true story of one woman's remarkable journey from teenage songwriter to Rock & Roll Hall of Fame. Now, Beautiful is headed to the DTW stage! From the string of pop classics Carole King wrote for the biggest acts in music, to her own life-changing, chart-busting success with Tapestry, Beautiful takes you back to where it all began- and takes you on the ride of a lifetime. Featuring over two dozen pop classics, including "You've Got a Friend," "One Fine Day," "Up on the Roof," "You've Lost That Lovin' Feeling," "Will You Love Me Tomorrow," and Natural Woman," this crowd-pleasing international phenomenon is filled with the songs you remember-and the story you'll never forget.

Harper Lee's To Kill A Mockingbird (April 12-28, 2024) Adapted from the Pulitzer Prize-winning novel by Harper Lee. To Kill a Mockingbird opens in a sleepy Alabama town in the midst of the Great Depression, where Scout and her brother, Jem, live with their widowed father, Atticus Finch. Reminiscent of a bygone era, the play immerses us in a simpler time as the children play outside in the summer, act out stories and muse about their mysterious neighbor, Boo Radley. The facade of the seemingly peaceful town begins to crack when a young black man is accused of a terrible crime. Driven by an unshakeable moral conviction, local lawyer Atticus defends the man in a trial that sends violent waves through the community. Timeless and lingering, this hard-hitting work explores prejudice, compassion and the courage to do what is right.

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